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Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
76 lines. Read by computer on 21 September 2026. Printed page 25. See the scan on archive.org.
1SPECIAL NOTICE.
3The two next editions of THE MUSICAL COURIER following the present—those of June 29 and July 6—will be merged into one huge edition bearing the date of July 4, which will be known as the First Section of the National Edition of THE MUSICAL COURIER.
5That is to say, instead of publishing on Wednesday, June 29, and on Wednesday, July 6, there will be one edition on July 4, embracing more than any two regular editions of the paper and covering a larger and more extensive circulation.
7The next regular issue of THE MUSICAL COURIER will be published on July 13.
9The Second Section of the National Edition will be published in the autumn.
11Permanent Orchestra.
13(New York Sun, June 16.)
15A POSTER on the billboard that stands in front of Carnegie Hall has aroused the animosity of some of the promoters of the permanent orchestra recently organized here, who believe that it is misleading and likely to create a false impression regarding the work of their orchestra. The poster in question reads: "Carnegie Hall, Saturday evening, October 29, 1898, symphony concert by the Permanent Orchestra of New York, Emil Paur, conductor."
17"The society will be glad to have it explained," said one of the organizers of the orchestra to a Sun reporter, "that there is no connection whatever between this and the orchestra organized last spring. Previous to that time there was only one orchestra that used the word 'permanent' in describing itself. This was the Metropolitan Permanent Orchestra, formed by Anton Seidl, and its existence has been continued under that name. But the description 'permanent orchestra of New York' was applied only to our organization. Of course, anybody has the right to apply the adjective 'permanent' to an orchestra, but the use of the name seems to have grown particularly popular since our efforts commenced. I only want the public to understand that the new orchestra is not under the direction of Emil Paur, will not give any concerts next winter, and will not, indeed, be organized finally until a year from this summer. So that organization, whether it calls itself permanent or not, is in no way connected with the permanent orchestra which was last spring established after several months of discussion.
19"I was reminded when I read these signs of the experience of the Banda Rossa, which played here last winter. Before it had been here many weeks there was a 'Banda Russa' playing in an uptown beer garden. I suppose any man can call his band 'Russa' if he wants to, as that in Italian would mean a Russian band. But I don't think that band was Russian, and I am quite sure that the permanent orchestra advertised to play at different places next winter is not the one that was formed last spring by a number of music lovers."
21(New York Sun, June 18.)
22PERMANENT ORCHESTRAS.
24CARL LOEWENSTEIN DEFENDS HIS USE OF THE TITLE FOR PAUR'S CONCERTS.
26The claim of the promoters of the "permanent orchestra" that the use of these words as they appear on the posters displayed at Carnegie Hall is misleading is represented by Carl Loewenstein. He is responsible for the concert to be given there next October by an organization advertised as the "Permanent Orchestra." Mr. Loewenstein said yesterday to a Sun reporter:
28"There is not and there never was any connection between the Permanent Orchestra of New York, under the direction of Emil Paur, with any other organization, as there has not been any other organization in existence, and even at any meetings that may have taken place no orchestra was ever formed. As far as can be judged by any unprejudiced observer, the parties that organized themselves into a society for the purpose of forming an orchestra last year had in view only the object of putting an orchestra together under the direction of Anton Seidl. The only permanent orchestra of New York which has existed up to date was the Seidl Orchestra, and it was this enterprise which originally created the interest in a permanent orchestra for the purpose of symphony concerts in the city of New York. It had been Mr. Seidl's wish for years to have a permanent orchestra, and it was impossible to find persons who would interest themselves in this project until I undertook this matter personally. The Permanent Orchestra of New York, which has no connection with any other society, will be conducted by Emil Paur, as announced on the posters, and will give its regular concerts next winter."
30Music in Dresden.
32DRESDEN, May 21, 1898.
34DURING the fall a great many American artists have so far highly distinguished themselves in Dresden. In my last letters I mentioned Mrs. Mary Howe, Frederick Fairbanks, Miss Osborne and others. Now, last, but not least, there appeared still another very remarkable American musician, Edward Baxter Perry, of Boston, who, on March 29, was heard here in a concert of his own to utmost advantage.
36Pianists of an equal technical equipment as the concert giver have often visited us, but piano virtuosos of an equally poetical interpretation one does not always meet with. That the artist is blind does not in any way interfere with his technical ability, not to speak of his truly artistic conception, which almost seems to gain by the fact, for there is inspiration, holy fire and great poetry about his reading of the various compositions he had chosen to perform. This makes it all the more enjoyable to the hearers, who very often suffer from the disadvantages of technical perfection. I say suffer (though it may sound absurd), for just this perfection in technic in most cases proves fatal to the impulse and the spontaneity of expression. Mr. Perry was very successful in the choice of his program, which thoroughly corresponded to the subjectiveness of the artist's fine taste. His selections included Liszt's "Harmonies Poetiques et Religieuses," No. 3, which headed the program, Beethoven-Saint-Saëns' "Choeurs des Derviches Tourneurs," compositions by Jensen ("Dryade," op. 43), Rubinstein and Chopin (B minor Scherzo, Etudes, op. 25, Nocturne, op. 27, and Polonaise, op. 53). We have not for a long while in Dresden heard the B minor Scherzo so well interpreted as by Mr. Perry.
38The concert-giver was very ably assisted by W. L. Hubbard, of Chicago, and W. H. Williams, the organist of the American Church in Dresden. Mr. Hubbard—as I am told still studying with Mr. Lamperti, of Dresden—as a singer fully realized the expectations which the Dresden audience is wont to put on a pupil of the Italian maestro. The singer's deep basso voice and his musical delivery of selections by Verdi, Schubert and Schumann found much favor with the public. On the artist's pronunciation of the different languages in which he sung cannot yet be spent great comments, but of course this is a difficulty that can be overcome. Mr. Williams gave great pleasure by his good and musicianly accompaniments to the songs.
40In this report I have to mention one more American singer, Lawrence O. Tyler (of Texas—Paris), a pupil of our well-known opera and concert singer George Ritter. Mr. Tyler recently at a recital in the American Church gave evidence of considerable talent. He is in possession of an uncommonly fine voice, a tenor of great compass. His intonation is pure, and he sings with much feeling and expression. The piece heard on the occasion was a hymn by Salters. In private musicales Mr. Tyler during the winter also interpreted songs by German composers, by which he made equal success. We hope before long to meet with the singer on the concert platform. He evidently gives great promise in future.
42Miss McGrew, the charming American soprano-coloratura singer, whom I mentioned in one of my previous letters, is still studying with Fräulein Natalie Haenisch. She, too (Miss McGrew), was heard in one of the American church recitals which I, on account of my trip to Prague, just the same day, to my great regret could not attend. Upon good authority, however, I am able to state that she succeeded beautifully, and that her teacher, Frl. Haenisch, had every reason to be proud of the results of her training. As my readers will see, the "American invasion," which Mr. Floersheim so wittily spoke of in his last Berlin Budget, is almost as great in Dresden as in Berlin.
44In the Royal Opera House Wagner's "Ring" has just been concluded under Herr von Schuch's brilliant lead. I say Von Schuch, for the Emperor of Austria, during his stay in Dresden at the King of Saxony's Jubilee Festival, raised Hofratt Schuch to the hereditary nobility of the Austrian Empire. The repertory of the Royal Opera has of late been rather dull; except the "Ring" there was no great attraction to talk of. Mehul's "Joseph in Egypt" will be revived to-night. The cast is good, Anthes, Scheidmantel, Wedekind and others taking part in it. The opera was last given here with Herr Adalbert Stritt in the title part, about ten years ago. The complaints of the uniformity of the opera repertory are becoming numerous and loud. Herr von Schuch apparently is tired of leading operas, as he trusts most of his work to Mr. Hagen, of whom the public does not approve. The latter, Mr. Hagen, may be a very good conductor, but he does not rival Schuch. It is to be hoped that things will turn out for the better soon. The concert season being entirely over, there is no more news for the present.
46A. INGMAN.
48Semnacher Pupils at M. T. N. A.
50The child pianists, Bessie and Mamie Silberfeld, pupils of Wm. M. Semnacher, will play at the National Music Teachers' Association concert, at the Waldorf-Astoria, on June 25.
52Harold Elgas.
54The first event of commencement week at Hasbrouck Institute took place on Sunday last, when the baccalaureate sermon was preached to a graduating class of twenty-five students. An elaborate musical program was artistically interpreted. Master Harold Elgas, the talented pupil of Frank G. Dossert, who had been engaged for the occasion, scored another success. The following is from the Evening Journal of Jersey City:
56Master Harold Elgas, who possesses a wonderfully clear, strong and sweet soprano voice, sang in a most artistic manner. He easily reached high C, and held his auditors spellbound. The latter felt very much like giving vent to their appreciation by applause.
58Three of Mildenberg's Pupils Appear.
60Albert Mildenberg, the well-known pianist and teacher, has introduced during the last two weeks three of his most advanced pupils to the public and they have each met with marked success. Miss Rosa Nalle, of Houston, Tex., played the second and last movement of the Rubinstein concerto in D minor at the commencement concert of the Classical School. Miss Nalle displayed a clear, smooth technic and an individuality of style that was admirable.
62At the Comstock School on Fortieth street Miss Edith Johnson of Worcester, Mass., played the Mendelssohn G minor concerto with ease and brilliancy, the gradation of tone being a noticeable feature of Miss Johnson's playing.
64At the concert given at Pouch Mansion last Wednesday Miss M. Clyde McCarroll, of Brooklyn, played two movements of the Schumann concerto and covered both herself and Mr. Mildenberg with well earned praises.
66These three young ladies are pupils of Mr. Mildenberg at the Classical School on Fifth avenue and the Comstock School on Fortieth street. At both schools Mr. Mildenberg is musical director and the work of his departments in these schools have earned for him many favorable comments during the past season.
68Proprietor of the PERMANENT ORCHESTRA, and
69The WALDORF-ASTORIA SUBSCRIPTION CONCERTS.
70CARL LOEWENSTEIN CONCERT DIRECTION.
712 and 4 West 33d Street, New York.
72Engagements Negotiated for the MOST PROMINENT VOCAL and INSTRUMENTAL ARTISTS in AMERICA and EUROPE.
73TELEPHONE: 2516 88th.
74Mr. Emil Paur, Conductor.
75CABLE ADDRESS: STEINLOEW, NEW YORK.
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